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22

Spot A Pantone is a Pantone when it's a "spot" color. Make sure your Pantone swatches have the color type "spot color". Even if you color swatch says Pantone XYZ, it doesn't make it a Pantone; if it's not a spot color, it will be considered as a process color (CMYK). Conversion during export If you are 100% certain that your swatches are "spot" then ...


12

It's a DuPont proprietary colour proofing process. It was originally a photographic process. They now have a digital version -- basically a colour-calibrated high-res inkjet print. I haven't actually heard the term used in the fully digital (computer to plate) era though. Maybe there are just a lot more options from competitors these days. Anyway, it's ...


10

No, you aren't missing something. There is no point at all in converting images to CMYK, and several good reasons NOT to. Converting images to flattened CMYK tiff is an old QuarkXpress workflow that is a complete waste of time today, especially with InDesign. What is a good idea is to size images in Photoshop before final output, to reduce file size and for ...


8

Cromalin proofing was something I used to do, daily, as a pre-press lithographer. After we had produced the 4-colour negatives for a print job, we would coat a piece of gloss white card with a clear photosensitive layer, using a heat roller. Then we would expose the yellow negative under the same halogen lights that we would use for exposing plates or for ...


6

Ask your printer as Scott mentions what size the barcode needs to be. If its a purely graphical scanner system then you should be able to make it whatever color you want and fairly small. Can you use invisible ink? No you cannot use invisible ink. Barcodes are an optical system. Most have now gone "cheap" using basically 2D image processing to scan the ...


5

I print Dye Sublimation at work. About 90% of the time the PMS swatches from Illustrator are off. A number of factors change the actual color output, some of these things may not pertain to you but no the less. Clog heads in the printer Material printed on Rip file settings Room lighting Heat Transfer time I could go on but I imagine that whom ever the ...


4

Hsawires gave an excelent explanation about colors. I'm adding my 2 cents. You can play with the size and proportion of the barcode. There are some limits on the offical guidelines of barcodes. But In my opinion are very square. You can reduce the size of the barcode lets say 75% and reduce the height of the bars in 50%-70%. and can be read by a linear ...


4

This seems to work: Install the open source indesign alternative Scribus, Mac and Windows (there's also an official portable version for Windows on sourceforge that doesn't require installation). WARNING: its interface is very confusing... But, it's free and does this particular job, there's only one simple thing we need to use it for. Open it up, go to ...


3

put your varnishes on the topmost layers--each on a separate layer--do not trap! the print provider will handle it in a way that's best for their process. note: I work in prepress (30 years+) we do not trap varnishes--we do however use a variety of processes depending on the press--sometimes we use what's called a 'strike thru' varnish--the gloss is applied ...


3

Why you should use one or the other is situational. In some situation, you might even end up using both to make sure your file is fully compatible, ending with Rasterize Object ultimately. If you try to use both rasterize effects, you'll notice: 1) The Effect Rasterize (In the menu -› Effect / Rasterize) The Effect Rasterize keeps your effect within the ...


3

First you need to prepare your file to the necessary size and evaluate the effective dpi. Then you can take one fragment (A4 or Letterhead size) and print that on the equipment you will be using as a test. I don't see any other way to understand how it will look when printed.


3

How should I communicate to the designer that I need their native files for prepress purposes ONLY? Is that even acceptable? We have missed deadlines in the past for our clients because their designer cannot make the needed changes in time, or does it incorrectly, or not at all. I do not know many designers who will hand off their native files even ...


3

I can't speak for everyone, but I generally have no issue providing files for press. I do not provide native files to clients for free. Perhaps the issue is the client is your middle-man. Any client asking for files is met with a pretty standard "they aren't free, see the contract" response. Any press house asking for files is treated differently. If you ...


3

This is a very nice question ... and guess what!? there is an invisible ink !! and it could be done in various ways. The First method is selecting some color combinations. If you couldn't change the design at least you could select some other color combinations to dissolve the barcode between your design. The following example are scannable. The best ...


3

why we should not do this. I would not say if you should or not. But you probably need to open your options. A brand guide preferably should be in an "absolute color" mode. A PMS is a good decision if the color matches de desired one. (I strugled a lot of years for a good red on the PMS system, sometimes I gave up for the red 032). But there are some ...


2

Yes, CMYK results in a larger image size (it is one more channel for the file to contain), but it makes perfect sense to view the art in the same mode in which it will be printed. Adobe applications have the special "Print Preview" setting for documents for a reason. You need to speak with your printer about this. A lot of printers require CMYK to pass ...


2

Is it possible to print duotone gradient images using two pantone neon colors? Yes. What should I be aware of and be careful with when preparing the image? You should be aware that there's no way to reproduce the exact colors short of printing it. So you'll want to set up your file, but be on site for the press check to ensure it's what you're ...


2

Clearing out unneeded swatches, brushes, symbols, layer styles, unused fonts, orphan vertices and paths, etc. certainly helps in reducing the likelihood of such an extraneous element causing issues somewhere in production. As an added bonus, it also helps reduce the file size. But as most of my printers prefer a PDF workflow, I generally don't worry about ...


2

For most of my work I deal with screen printing prepress. In the end, it's all the same to me. Regardless of how clean the swatch panel might look, my workflow will remain unchanged. In fact, I'm pretty much going to ignore the provided swatch panel and create my own. So to answer your best practice question: I don't care what you do. It's not that I enjoy ...


2

Object > Rasterize is destructive. Once it rasterizes something the only way to un-rasterize it is to use Edit > Undo Effect > Rasterize is non-destructive and designed to let you preview how rasterized objects appear without actually rasterizing anything. (Objects get rasterized upon output if the effect is in use). Why you'd use the effect... ...


2

Great question by the way. First off we're fortunate to live in an age where a properly built PDF will get you perfect prints (or near perfect) most of the time with most printers. Meaning the tools and processes are getting to a point where the designer typically does not need to worry (much) about the finer details of print production. So that out of the ...


2

I've seen the short answer to this from multiple sources as the following tables (in microns): Detail rendering equivalency: FM 20 = 500 lpi FM 25 = 325 lpi FM 35 = 325 lpi FM 36 = 275 lpi However the answer to your question is probably much more complex since there's other factors including paper and the consensus that stochastic printing generally ...


1

Is this a normal practise or do serious print service offices usually have RIP programs to optimize the process? It's not essential, but every print shop I've used for professional quality printing has used some sort of RIP. I've seen it most commonly used for handling multiple jobs across multiple printers. Here's an article on the typical uses for RIP. ...


1

If you only have access to the PDF and can't really open it in Illustrator/Photoshop to convert the spot colors (since most designers don't vectorize their fonts...), you can convert everything to CMYK in Adobe Acrobat Pro with the Preflight. You can use the "Preflight" feature and create a profile to "fix" files; it will verify if you have any other color ...


1

The thing is it depends. CMYK has a different possible range of colors than spot colors, this range is called color gamut. So it may be that your chosen spot color is outside the gamut of your regular CMYK printer. This gets you in a bind, since now you need to decide what alternate color to use. For this you need to have a colorimeter to decide what your ...


1

What is the safest / most precise I am completly discarding one option. The cheapest. Then the safest and more precise is to correctly calibrate your digital print with specialized hardware and software, and to keep a very tight methodology and process. I just will give you a starting point: http://www.xrite.com/color-measurement-products Becouse you ...


1

With PDF export/save... it makes no different. The PDF will inherently only include used colors. Spot colors aren't included unless they actually used in the file. For Illustrator files, clearing out unused swatches will reduce file size (kb), but other than making things look neater. That's about it. I never worry about swatches unless I'm providing ...


1

If you cannot get to under 100mb even after using all the possible "print" compression features from InDesign (which is the software I assumed you're using, if not please specify), I would look for another print shop. Obviously their requirements would force you to produce a low-quality product, it might be ok for them to force their customers to do so, ...


1

Forms folds and Sizes by Poppy Evans is an excellent book and it's relatively inexpensive. I read it back to back and I also come back to it whenever I need something specific. A bit about what the book chapters: Copyright and proofreading Color and Imaging Type Paper Grid design Binding and folds Envelopes and folders Packaging Postar standars, Bar code ...


1

The normal way to acheive "full bleed" on A3 for example is to print on bigger paper such as A£+ or SRA3 & trim the white space off? Most decent laser printers and copiers will take these sizes, I sell Xerox kit and know that they do. I hope this helps? Regards Mike



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